Instruments for Spatial Sound Control in Real Time Music Performances. A Review

The systematic arrangement of sound in space is widely considered as one important compositional design category of Western art music and acoustic media art in the 20th century. A lot of attention has been paid to the artistic concepts of sound in space and its reproduction through loudspeaker systems. Much less attention has been attracted by live-interactive practices and tools for spatialisation as performance practice. As a contribution to this topic, the current study has conducted an inventory of controllers for the real time spatialisation of sound as part of musical performances, and classified them both along different interface paradigms and according to their scope of spatial control. By means of a literature study, we were able to identify 31 different spatialisation interfaces presented to the public in context of artistic performances or at relevant conferences on the subject. Considering that only a small proportion of these interfaces combines spatialisation and sound production, it seems that in most cases the projection of sound in space is not delegated to a musical performer but regarded as a compositional problem or as a separate performative dimension. With the exception of the mixing desk and its fader board paradigm as used for the performance of acousmatic music with loudspeaker orchestras, all devices are individual design solutions developed for a specific artistic context. We conclude that, if controllers for sound spatialisation were supposed to be perceived as musical instruments in a narrow sense, meeting certain aspects of instrumentality, immediacy, liveness, and learnability, new design strategies would be required

Design Strategies for Adaptive Social Composition: Collaborative Sound Environments

In order to develop successful collaborative music systems a variety of subtle interactions need to be identified and integrated. Gesture capture, motion tracking, real-time synthesis, environmental parameters and ubiquitous technologies can each be effectively used for developing innovative approaches to instrument design, sound installations, interactive music and generative systems. Current solutions tend to prioritise one or more of these approaches, refining a particular interface technology, software design or compositional approach developed for a specific composition, performer or installation environment. Within this diverse field a group of novel controllers, described as ‘Tangible Interfaces’ have been developed. These are intended for use by novices and in many cases follow a simple model of interaction controlling synthesis parameters through simple user actions. Other approaches offer sophisticated compositional frameworks, but many of these are idiosyncratic and highly personalised. As such they are difficult to engage with and ineffective for groups of novices. The objective of this research is to develop effective design strategies for implementing collaborative sound environments using key terms and vocabulary drawn from the available literature. This is articulated by combining an empathic design process with controlled sound perception and interaction experiments. The identified design strategies have been applied to the development of a new collaborative digital instrument. A range of technical and compositional approaches was considered to define this process, which can be described as Adaptive Social Composition. Dan Livingston

Detection of CO2 in N2 and H2O using photoacoustics

Photoacoustic spectroscopy is a technique where absorbed modulated light is released as heat, causing thermal expansion which can be detected using an acoustic transducer. It can be used to determine the absorption spectra or the concentration of a material. In this project, photoacoustic spectroscopy is performed on CO2 in N2 gas and on CO2 dissolved in water in the 2003 - 2006 nm range. Studies on CO2 concentrations can be used in environmental research and fish industries, to mention some applications. Linearity in the signal is demonstrated for concentrations over several orders of magnitude for the gas mixture. The effect of water vapour in the sample is investigated, and the optimal modulation frequency and other relevant factors are determined. For the water sample, different measurement cell configurations are investigated before achieving a photoacoustic signal. With the final configuration used, high concentrations of CO2 in water can be detected indirectly through a small layer of inert gas above the water. Smaller concentrations can not be detected due to a high noise level. Together with instruments for generating and modulating laser light and for detecting the acoustic signal, a gas sample measurement cell and a water sample measurement cell form the experimental setup. LabVIEW from National Instruments is used to develop a software for instrument control, data acquisition and data analysis.Master i FysikkMAMN-PHYSPHYS39

Technology 2003: The Fourth National Technology Transfer Conference and Exposition, volume 2

Proceedings from symposia of the Technology 2003 Conference and Exposition, Dec. 7-9, 1993, Anaheim, CA, are presented. Volume 2 features papers on artificial intelligence, CAD&E, computer hardware, computer software, information management, photonics, robotics, test and measurement, video and imaging, and virtual reality/simulation

The matrix revisited: A critical assessment of virtual reality technologies for modeling, simulation, and training

A convergence of affordable hardware, current events, and decades of research have advanced virtual reality (VR) from the research lab into the commercial marketplace. Since its inception in the 1960s, and over the next three decades, the technology was portrayed as a rarely used, high-end novelty for special applications. Despite the high cost, applications have expanded into defense, education, manufacturing, and medicine. The promise of VR for entertainment arose in the early 1990\u27s and by 2016 several consumer VR platforms were released. With VR now accessible in the home and the isolationist lifestyle adopted due to the COVID-19 global pandemic, VR is now viewed as a potential tool to enhance remote education. Drawing upon over 17 years of experience across numerous VR applications, this dissertation examines the optimal use of VR technologies in the areas of visualization, simulation, training, education, art, and entertainment. It will be demonstrated that VR is well suited for education and training applications, with modest advantages in simulation. Using this context, the case is made that VR can play a pivotal role in the future of education and training in a globally connected world

NASA Tech Briefs, January 1990

Topics include: Electronic Components and Circuits. Electronic Systems, Physical Sciences, Materials, Computer Programs, Mechanics, Machinery, Fabrication Technology, Mathematics and Information Sciences, and Life Science

X-Road: Virtual Reality Glasses for Orientation and Mobility Training of People with Visual Impairments

International audienceOrientation and Mobility (O&M) classes teach people with visual impairments how to navigate the world, for instance how to cross a road. Yet, this training can be difficult and dangerous due to conditions such as traffic and weather. Virtual Reality (VR) can overcome these challenges by providing interactive controlled environments. However, most existing VR tools rely on visual feedback, which limits their use with students with visual impairment. In a collaborative design approach with O&M instructors, we designed an affordable and accessible VR system for O&M classes, called X-Road. Using a smartphone and a bespoke headmount, X-Road provides both visual and audio feedback and allows users to move in space, as in the real world. In a study with 13 students with visual impairments, X-Road proved to be an effective alternative to teaching and learning classical O&M tasks, and both students and instructors were enthusiastic about this technology. We conclude with design recommendations for inclusive VR systems

Designing virtual spaces: redefining radio art through digital control

Radio Art is a composition practice that is constantly evolving. Artists share a commonality to redefine, reinvent, and repurpose analogue radio. It is an art that often bends to the will of antiqued technology, celebrating a wide pallet of found sounds. This research extends the boundaries of the art form by exploring Radio Art through sonic-centric lens and establishing a consistent and reproducible compositional framework. By shifting radio from a found object to an instrument, I have deconstructed its sonic aesthetics into two parallel materials for composition, gestural noise and broadcast signal. When tuning an analogue radio to a signal, relationships between these materials unfold. Contrast is a term found throughout my research. Contrast is embodied throughout radio and its history; radio is used as both a scientific communication device and for artistic expression. it is a symbol of democracy and oppression. Radio produces broadcast noise and signal, creating poetic reception, such as control and chaos, anxiety and ecstasy, distance and closeness. This research explores the characteristics of these forces and materials as a symbiotic relationship of unfolding radiophonic behaviours. A major focus of this research is the control of analogue radio through deconstruction and composition. I embarked on a twenty-four-month development period to build a Digital Audio Workstation called Radiophonic Environmental Designer, (RED). RED enables composers to create virtual radiophonic environments that are navigated by rotating the dial. Material is positioned along a horizon, and tuning behaviours sculpted. There is also a physical interface embedded into an analogue radio shell to control the virtual tuning, namely, Broadcast Link-up Environment, (BLUE). BLUE is an ad-on program offering an online digital platform for the diffusion of Radio Art. Using an internet connection and gyroscope technology that is built into most smart phones, a radiophonic environment is interacted through a purpose-built website. In my creative practice, analogue radio has been redesigned by adopting digital technological practices to control, edit and model it’s unique sound. In doing so, I reflect upon relationships between analogue and digital design principles through an extensive study on virtual analogue software and interfaces

NASA Tech Briefs, February 1989

This issue contains a special feature on shaping the future with Ceramics. Other topics include: Electronic Components & and Circuits. Electronic Systems, Physical Sciences, Materials, Computer Programs, Mechanics, Machinery, Fabrication Technology, Mathematics and Information Sciences, and Life Sciences